Ellen G.K. Rubin
Like children who have long awaited the return of
the carnival, the participants of the second biennial
Movable Book Society Conference celebrated ebulliently
at the Los Angeles Airport Hilton, April 30-May 3.
From the first evening, the line between strangers and
old friends was quickly blurred w ith handshakes, kisses,
and introductions. No sooner were packets with name
tags, program, and rolling pin bookmark for Cookie
count, signed by Robert Sabuda, put aside, were pop-
ups whisked out of pockets and handbags. The "Show
and Tell" sideshow had begun. "'Have you ever seen this
book?" "I made these. What do you think?" "1 found
this on the Internet!" And the question most often asked
on Thursday and still heatedly debated on Saturday,
"Where will the next Convention be?" Adding to the
carnival atmosphere was the concurrent convention of
ballroom dancers who filled the corridors and elevators
with bespangled women, heavily made-up, elaborately
dressed and coifed, squired by pomaded men in either
cutaways or tight pants and shirts open to the navel. We
appeared schoolmarmish in comparison, especially with
our ever-present children's books in tow.
Wally Hunt graced our first evening, dropping pearls
of pop-up trivia everywhere he went. When shown a
copy of My friend the dragon for Random House's
"Magic-Motion" books, he explained why there are
bibliographical pages at the back, as there are in several
other early books.* Some of us fought off jet-lag while
intimately sitting around a small table examining the
pop-ups of the "wunderkind," Andrew Baron, a self-
taught paper engineer. While deservedly proud of
himself, Andrew acknowledged, "Wally is the taproot."
Friday morning opened with the sunny presence of
Ed Hutchins giving his lecture, "Toying With Books:
Playing with Conventions," the same title as his UCLA
show. Eschewing self-promotion, Ed gave an overview
of his work with movable books beginning in 1 974 with
an annual report for his Dad. While admitting all his
books start with a conventional book format, they
almost never end up that way. My "books have so much
more than is immediately apparent." Ed, in
Ed Hutchins showing River of Stars
professorial vest and beard, gave an overview of his
work from The rabbit report with scrolling text to
Moving the obstinate with panoram ic text housed in an
obelisk to intricate tunnel and unfolding books. Like a
magician giving away his secrets, Ed showed how a
complicated book, such as Tite shape of things, was
made from a single sheet of paper. There were "Oohs"
and "Ahs" from the appreciative audience. In Twisted,
the rotating covers keep changing the message much
as the moving tiles change the message in Mosaic.
Asked if these books can take the rough handling. Ed
responded, "Yes, but dog-eared is a good quality for a
Chuck Murphy holding Jack and the Beanstalk
Chuck Murphy, our next lecturer, echoed this
thought. When 1 gave him his Smiley 's super station
to sign, he told me some of the punch-out figures were
missing.* But, he added, since his books are intended
for children, "If a book doesn't show signs of handling.
I haven't done my job." Chuck gave us an A-to-Z
The Movable Book Society
Movable Stationery is the quarterly publication of The
Movable Book Society. Letters and articles from
members on relevant subjects are welcome. The annual
membership fee for The Society is $15.00. For more
information contact Ann Montanaro, The Movable
Book Society, P.O. Box 1 1654, New Brunswick, New
Daytime telephone: 732-445-5896
Evening telephone: 732-247-6071
The deadline for the next issue is Aug. 15.
Continued from page 1
(really 1-15) of howpop-ups are made, from concept to
bookshelf. This was "The World of Pop-ups, According
to Chuck Murphy." First is Murphy's Law: "What pops
up, must fold down." Despite all the fanciful pop-ups
we have seen, it all boils down to two types, both
triangles, sitting on the base page. The triangle allows
for pivoting, and the art and additional folds add to the
complexity. Striving for the maximum pop-up on a
page, he clearly takes delight in making his readers
wonder how the folded pop-up ever fit inside the book.
Purity of design is achieved by using fewer pieces of
paper. Although children are his usual audience, he
always strives for the "Wow! factor" to appeal to adults.
Using his forthcoming book, Jack and the Beanstalk, as
an example. Chuck took us through the steps of putting
this book together. He talked of the "opportunity for
serendipity" in manipulating paper and the tedium
inherent in completing the artwork. Jack will be part of
a fairytale series for Little Simon, with signed, boxed
editions being offered.
Waldo Hunt at Intervisual Books
Murphy admits to "thinking like a child" and when
asked if he ever took formal child development
courses, he responded, he didn't have to, "I'm the
oldest of seven children."
It was now time for our outing. With growling
stomachs, we descended upon Intervisual Books
begging to be the first of the three groups to have
lunch. After an elegant bite, alfresco in the California
sunshine, we were escorted to the inner sancta of
Chairman Waldo Hunt's Pop-up Museum. Unlike any
other office I have ever visited, desks and shelves
spilled over with toys and toy books. The corridors
were lined with well-lit glass exhibition cases housing
movable books from 1 860 to the present. Among the
many Meggendorfer's and Nister's, was The
Motographa moving picture book ( 1 898) sporting the
only book cover ever done by Toulouse Lautrec. Wally
walked us along the cases, pointing out the historical
highlights as well as the trivia. There is no finer
docent for pop-up books.
The final segment of our tour was the humbling
experience of making pop-up valentines, ably
instructed by our Disneyland-like guide, Jim Rives.
Some of us (me) needed remediation in folding the
pre-scored sheets, artwork by David A. Carter. The
paper engineers at my table, Robert Sabuda and Ed
Hutchins. tried not to jump ahead and successfully
refrained from yawning. As with the 8 year olds who
usually take this course, we were repeatedly reminded
not to put too much glue on the tabs, a lesson lost on
our leader, Ann Montanaro.
The last leg of our tour took us to see Ed Hutchins'
exhibit in the august stacks of the UCLA University
Research Library, Department of Special Collections.
Ed, with his usual determination to give us his best,
had finished the catalog the night before, complete
with movable cover. Spread before us in the minimally
adorned cases, was a visual history of Ed's body of
work. We were grateful we had the opportunity to see
many of these books in action as part of his lecture.
Totally exhausted, both from jet-lag and excitement
overload, we made our way back through the LA
traffic to a much-deserved rest before dinner.
Well . . . maybe we weren't so exhausted. After
dinner, and a brief foray trying to attend the dance
contest, several of us got word that there were two
dealers selling books in their rooms. Dealers is a
perfect name for the people we stealthily sought with
our addictive personalities, whispering their room
numbers from collector to collector. The sweating
dancers in the elevators eyed us with suspicion.
Pat Paris, Ann Montanaro, and Betty Traganza
Saturday morning, we were prepared for a full-day' s
schedule. Our first speaker, Betty Traganza, delighted
us with her off-hand style, accepting "coaching" from
her husband. Gene, in the front row. These Hallmark
Book collectors were an impressive team between the
wealth of knowledge gleaned from years of collecting
and a trip to the Hallmark Visitor's Center in Kansas
City to the wonderful slides of her presentation. Betty's
years as a pre-school instructor was obvious by her
insights into what children love in pop-up books and
her infectious enthusiasm telling the stories, as she did
with Gulliver 's travels and Dr. Doolittle. We learned
the history of Mr. Joyce Hall, founder of Hallmark, from
his birth in David City, Nebraska in 1891 to his mail
order postcard business in Kansas City at 1 8 years of
age. The Hallmark Editions began in 1967 as gift items
and the Children's Editions were started in 1970 with
ten titles, all dust-jacketed. Often titles were sold and
resold and artwork lost, so that books were reissued
with newly designed covers. * Betty broke down the
various books into categories, fantasy, activity, and
instructional. The remarkable Mr. Franklin an example
of the latter.
Betty's topic made a wonderful segue for the next
speaker, Pat Paris, the illustrator and paper engineer
who started working for Hallmark in 1961 . Pat painted
a picture of Hallmark artists "treated as prima donnas?
working in a family atmosphere, their styles the point
from where new artists "had to start." Paris' pixie
appearance was heightened by her enthusiasm to share
her wealth of knowledge and experience. Her original
artwork, mock-ups, and story boards served as a colorful
backdrop for her talk. We were grateful to see them
considering most unwanted artwork was shredded!
Hallmark was always a "wealthy" company, with lots of
new products under development and even their own
palate of inks. Early on, 1965-1970, Hallmark produced
a series of shaped, spiral bound greeting cards with
fold-down dioramas. The titles, Cactus Creek, The red
barn farm, The Christmas story, The paper doll house,
and Bunnyland had punch-out figures, a mailing
envelope, and were sold for $1.00!! Pat continued to
lay out the sequence of Hallmark's involvement with
pop-up books, covering the purchase of Hunt's Graph ic
International and licensing products such as Snoopy
and Mr. Rogers, and a cast of artists and paper
engineers recognizable to all who collect Hallmark
books. lb Penick, the paper engineer who worked with
Waldo Hunt, is credited with teaching the people at
Carvajal how to do pop-ups. Dean Walley, writer of
many books, is still with Hallmark today.
Hallmark Paper Engineer
Photo from Hallmark newsletter from 1970s
Pat walked us down a circuitous path of Hallmark
titles with changing covers and publishers, an almost
impossible trail to follow. Tlie haunted house was one
of Hallmark's most successful books, with over 300,00
copies printed, while the first ten titles with dust-
jackets (previously mentioned by Betty Traganza) had
only 10,000 copies printed. No wonder they are so
hard to find. . . especially with dust-jackets! ! ! Paris went
on to be a partner at Compass Productions with Dick
Dudley and outlined her career there. Recently, she has
designed the characters at Sea World in San Diego, the
Ewoks of the third trilogy for Lucas Films, and Indians
and Greece, multi-media activity packs.
Not to lose the momentum of our lectures, we broke
briefly for another delightful al fresco lunch and
returned to the surprisingly professorial demeanor of
Robert Sabuda. In clear, measured cadences. Robert
marched us through the history of pop-up books from
early medical texts of 1660 using volvelles, through
the harlequinades for young readers, circa 1770. to
Dean & Sons, Raphael Tuck, and Nister. founders of
"The Golden Age" of pop-up books, just around the
turn of this century. Continued on page 10
lb Penick, 1931 - 1998
Meg McSherry Breslin
lb Penick, the creative mind behind the resurgence
of pop-up children's books in the 1960s and '70s and a
man who devoted much of his life to helping thrill
young readers across the country, died on April 21,
1998 of heart failure in his Wilmington, North Carolina
home. A former longtime resident of Chicago, he was
Although pop-up books were popular during the
1920s and '30's, they fell out of favor after World War
II because they were easily damaged.
But in the 1960s, Mr. Penick and his then-business
partner Wally Hunt helped restore the books' popularity
through a full line of children's titles for Random House
that were visually exciting and more durable. The effort
produced healthy profits for Random House and dozens
of other publishers who followed.
Today, may pop-up designers consider Mr. Penick
the modern father of their industry and a key leader in
the advancement of the worldwide development of pop-
up books, greeting cards and advertisements.
"He was really responsible for creating the whole
world we lived in. With the advent of the Random
House line, a whole industry was created and the very
first ones were created by lb," said Gerald Harrison, the
retired president of the children's books division at
Random House. The first pop-up for Random House,
published in 1967, was dubbed Bennet Cerf's Pop-up
Riddles. It was followed by a long line of animal books,
"Sesame Street" pop-ups, a Wonder Woman pop-up and
many others tied to popular movies such as "Star
Wars." Mr. Penick worked with Jim Henson on one of
his favorites, The Muppet Show pop-up book.
Mr. Penick was drawn to pop-ups after seeing older
versions from the 1920s and '30s, and becoming
convinced he could improve them.
"He was always looking for the next thrill," said his
longtime companion, Julia Rose. "And that's sort of
what he wanted his book or card to do - to thrill
somebody and thrill them again and again."
Mr. Penick came to the United States from Denmark
in 1950 and held a series of odd jobs before settling into
his first artistic position as a Yellow Pages advertising
He later opened an art studio in California, and it
was there that Mr. Penick met Hunt, who had an ad
agency and a large collection of pop-up books dating
back to the 1 920s. Once Mr. Penick studied the books,
he was convinced that he could help revive a then dead
Mr. Penick joined a company Mr. Hunt formed
called Graphics International, the precursor to Hunt's
current firm, Intervisual Communications, now one of
the world's largest producers of pop-up books and
"To be able to design something that would collapse
and come up a thousand times without self-destructing
takes genius. I invented the word 'paper engineering,"
and that's exactly what it is," Hunt said.
Mr. Penick's genius wasn't limited to his designs.
Pop-up books must be assembled by hand, making
mass production apotentially expensive enterprise. But
Mr. Penick"s paper designs allowed the books and ads
to be put together simply and economically.
While Mr. Penick was a household name in his
industry, he never became a public figure. He married
and divorced twice, and seldom settled in anyplace for
too long. His stay in Chicago was his longest - a
roughly 20-year residence in the city and northwest
In addition to his longtime companion, Mr. Penick
is survived by a daughter Kimberly McGee, two sons,
Jason and Scott, and three grandchildren.
Reprinted from the Chicago Tribune, April 24, 1998.
Summer Arts Institute
Including Book Arts Courses
Women's Studio Workshop
P.O. Box 489
Rosendale, New York 12472
http : // www. ws worksh op . org
Funny Feminist Books
By Lise Melhorn-Boe
North Bay, Ontario, Canada
I have been making bookworks for almost twenty
years. My first book was made almost by accident and
I had made several more before I discovered that I was
not alone; that there was a movement out there with
artists from any backgrounds turning to the book form
as a new medium. Eventually I was able to get some
formal training in bookbinding and letterpress printing,
although I soon began to move away from rectangular
books with pages joined at one side.
A good wife wouldn V . . . 1997
Color tunnel book: Handmade paper,
photocopied images and text
With Danielle Hart's story
The content of my books often is suggested the by
structure itself. From early works such as Hairy legs
(life-sized leg-shaped hand-made hairy paper pages in
a knitted handspun hair and raimie stocking cover) and
Leaky stories (a red box of sanitary napkins, made of
Japanese paper because real ones absorbed the rubber-
stamped text) to more recent pieces such as A sad little
girl (a wardrobe trunk holding a cast-paper doll and her
rubber-stamped, sewn paper clothes on tiny wire
hangers) and Dinner for three (a cast-paper TV dinner),
I have humorously addressed personal and political
issues in women's lives in North American society.
Originally I was excited about the idealism of the
artists in the early 80's who dreamed of making art
available to large numbers of people (artist's books in
racks at the supermarket!). But I also found that many
of my ideas were not feasible in large editions, i.e. cast-
paper shoes in hand-made paper shoe box with several
printed insoles/pages in each shoe. So I have tended
toward unique books or books in small editions,
Penelope's apron. 1994.
With Penelope Stewart's story.
Accordion book with pop-ups: Handmade
flax/linen paper, ribbons sewn on, rubber stamped
although over the years I have produced perhaps a
dozen in editions of 30-500 which are available at
Printed Matter in New York City and Art Metropole in
Toronto. While none of these is as sculptural as the
books described above, some of them are shaped and
others demand reader manipulation. Anything can
happen: A love story, with collages of images and
words from women's magazines is a shufflebook. Bad
girls goodhas illustrations of little girls from popular
storybooks. The text, collected from women through a
questionnaire (a commonly used source of stories for
me) is about being a good or a bad girl. When you mix
up the illustrations, which are cut in three parts, at the
neck and at the waist, the stories also get muddled:
good and bad begin to blur.
Recently I have been using pop-ups, very simple
ones at first, as in Good girls don't . . . (four pop-up
"Sunbonnet Sue" girls with the Virgin Mary
superimposed on them) and Penelope 's apron (three
pop-up aprons, the last of which is crumpled, with a
poignant story about thwarted creativity). After taking
a couple of workshops with Carol Barton, and teaching
pop-ups to elementary school children through the
Ontario Arts Council's Artists in Education program,
I have grown more confident.
A good wife wouldn 't ... is a runnel book with
text. The story is about a woman who wants a
dishwasher for medical reasons but her husband
refuses to get one. As you look through the tunnel past
the piles of dirty dishes and clean dishes in dishracks,
you see the dishwasher at the end. Cinderella is a new
take on an old story - the text and images come from
fashion magazines. Getting ready for the ball, the cool
but sinister-looking wicked step sisters pose amidst a
flurry of clothes: what to wear? Looking for
Cinderella, the Prince finds the sisters' legs flying off
the page: "Pick me! Pick me!" reads the text.
Pop-up book: Color copied on hemp paper
Most recently, I have made Once upon a house, an
architectural autobiography, using family photos and
basing the pop-ups on the house in which I grew up. I
am now working on a companion volume about "the
family that liked to eat" featuring the same house but
I've always liked books as an art form because the
viewer becomes a participant. This is definitely true
with pop-ups. I'm sure I'll be making more of them.
A price list is available from Lise Melborn-Boe at
238 First Ave. E., North Bay, ON, Canada, P1B 1J8.
Books are also available from Tony Zwicker Books in
Once upon a house. 1998
Pop-up book: Hemp paper with color photocopied
images and text, acrylic paint and pencil crayon
• Books imported from Asia had to have a certain
number of pages to NOT be considered advertising and
be charged a higher duty, therefore, the bibliography
was added to increase the length of the book.
• According to Wally Hunt, in The Pop-up Mice of
Mr. Brice, by Theo LeSieg, Waldo refers to Mr. Hunt.
• Theo LeSieg is Geisel backwards referring to Dr.
• Thomas Beach, author of Creepy, crawly
Halloween fright, is really Robert Sabuda. Compass
Productions wanted Robert to create a holiday book but
Robert couldn't use his own name. Beach is an old
family name on the Sabuda tree.
• In Smiley 's Super Service (1971) by Chuck
Murphy, the girl character is Murphy's daughter.
• First edition Hallmark books sold for $4 indicated
in code on the books' back cover, have double-sided
artwork, and illustrated endpapers.
• The story, Friend of the Dragon, (Random House-
Magic Motion Series) was one Wally told his daughter,
Jamie, at bedtime embellishing Wally's train ride
home from New York City to Scarsdale.
• The cigars in The Consummate cigar book are
called, Hualdos, after Waldo Hunt.
• Michael Hague used his own face for that of
Gulliver's in Hallmark's pop-up, Gulliver's Travels.
• Dr. Edith Dowley, acknowledged on the back of
several Hallmark Children's Editions, was a
psychology professor at Stanford University.
• Four small books (4 X 6-inches) previously
published in larger format by Hallmark were issued in
a box. The titles were: World of horses; Kingdom of
the sea; Backyard zoo; The terrible lizards
Learning how to make pop-ups: Part I.
New York, New York
Ann Montanaro recently mentioned that one of
her biggest requests from people interested in making
pop-ups was "where do I find a book to help me?"
I offered to go one step further and evaluate the titles
I did not include books that merely asked the
maker to cut something out and assemble a model if
it did not explain why the pop worked or offered
ideas for new avenues of discovery.
All of the titles discussed are here because they're
currently in print. Why go on and on about a book if
you can't get it? This list is by no means inclusive,
it's just that these are the only books in print I am
aware of. If you have others in your collection that
are available please let me know.
These titles are all for pop-up makers of any age
but whose skill level is beginner . Intermediate and
advanced books will appear in subsequent issues.
Aotsu, Yuko. How to make pop-up pictures!
Dai-Nippon 1993. ISBN 499-33052-1, $36.00 US,
21x26cm. 66 pp hardcover, simple black & white
instructional illustrations, black & white and full
color photos of all finished projects. Japanese text.
Areas covered: V-fold, parallelograms (layers),
coils, basic box, simple tab mechanisms and simple
Lessons or projects: Approximately 28 projects,
each creating a finished object: animal, flower,
Intended audience: Children.
Advantages: Clearly illustrated instructions.
Many photographs of finished projects.
Disadvantages: Japanese text (if you don't read
Japanese). No templates/patterns to trace or cut out.
You must estimate measurements based on the
Campbell, Jeanette R. Pop-up animals and
more! Evan-Moor 1989. ISBN 1-55799-159-6, $5.95
US, 22x28cm. 48 pp softcover, humorous black &
Areas covered: Single V-fold and multiple fold
Lessons or projects: 19 projects, each creating a
different animal folded into a card.
Intended audience: Teachers and their students.
Advantages: Patterns for all projects which are
intended to be photocopied onto construction paper.
Simple curriculum ideas for the classroom.
Disadvantages: Only two pop-up principles. Does
not go into further possibilities beyond animals.
Gibson, Ray & Somerville, Lousia. The Usborne
Book of Pop-ups. Usborne Publishing 1990. ISBN
0-7460-1273-x, $5.95 US, 20x25cm. 32 pp soft
cover, humorous full color illustrations.
Areas covered: V-fold, layers, very simple tab
mechanism, coils, rotating wheel (using paper
Lessons or Projects: Approximately 17 projects
each creating a finished object. Many projects
"spooky": ghost, bat, mummy's tomb, Cancan pigs.
Intended audience: Children
Advantages: Many projects have "Other ideas" so
the pop-up maker can expand on what has been
learned. "Tips" are given throughout for extra help.
Last two pages have templates to trace for a few of
Disadvantages: Instructions clear but each step is
not numbered possibly causing slight confusion.
Irvine, Joan. How to make pop-ups. Beech Tree
Books (William Morrow) 1991. ISBN 0-688-07902-
4. $6.95 US, 21x24cm. 96 pp softcover, humorous
black & white illustrations.
Areas covered: V-fold, layers, coils, springs,
simple tab mechanisms, simple revolving wheel,
simple book binding.
Lesson or projects: Approx. 30 projects, each
creating a finished object: mouths, waving arms,
Intended audience: Children.
Advantages: Clearly illustrated and numbered
instructions. Has "Combining ideas" and "Make your
own pop-up book" sections.
Disadvantages: No patterns to trace or photocopy
but measurements are given for all projects.
Irvine, Joan. How to make holiday pop-ups.
Beech Tree Books (William Morrow) 1995. ISBN
0-688-13610-9, $6.95 US, 21x24cm. 64 pp softcover,
humorous full color illustrations.
Areas covered: V-fold, layers and very simple tab
Lessons or projects: 30 projects, each creating a
finished object in a card for a specific holiday when
Intended audience: Children.
Advantages: Clearly illustrated and numbered
instructions. Not only teaches pop-up but introduces
many holidays that young readers may not be
Disadvantages: No patterns to trace or photocopy
but measurements are given for all projects.
Johnson, Paul. Pop-up paper engineering.
Cross-curricular activities in design technology,
English and art. The Falmer Press 1992. ISBN
1-85000-909-0, $26.95 US, 19x25cm. 116 pp soft
cover, simple black & white illustrations and color
photos of some finished projects.
Areas covered: V-fold, layers, simple tab
Lessons or projects: Approx. 45 lessons each
explaining a pop-up principle with project
applications. More academic than other titles.
Intended audience: Teachers of young children.
Advantages: Clearly illustrated instructions. Well
paced and planned for classroom activities.
Disadvantages: No templates/patterns to trace or
photocopy. Very few measurements given for
projects, although the author states "It is
understanding the concept that matters."
(The following title is assumed out-of-print, but
as a note of interest is included here because it seems
to be the earliest instructional book for making pop-
Kenneway, Eric. Making pop-up greeting
cards. Mills & Boon, Ltd. (London) 1972. ISBN
0-263-05065-3, 1.40 UK. 15x2 lcm. 96 pp hardcover,
simple black & red illustrations with a few black &
white photos of finished projects.
Areas covered: V-fold, layers, pleated fan, simple
tab mechanisms, simple book binding, pop-open box.
Lessons or projects: Approx. 22 projects each
creating a finished object: mouths, waving arms, etc.
Intended audience: Children and adults.
Advantages: Lessons clearly illustrated. Pop-open
box is unusual and original.
Disadvantages: Assumed out-of-print. (If anyone
has an extra copy of this I'll buy or trade for it. I had
to borrow Ed Hutchins copy for this review!)
Nelson, Tom ("Pope of Pop-up" as advertised).
Perfect Pop-up - Greeting Cards the Easy Way.
Self published: 800 Washington Ave. North.
Minneapolis, MN 55401. 1994. $10.00 US,
22x28cm. 32 pp softcover, simple black & white
illustrations, a few black & white photos.
Areas covered: V-fold and layers.
Lessons or projects: 8 lessons each explaining a
pop-up principle with ideas for a project.
Intended audience: Adults.
Advantages: Clearly illustrated instructions. 8
templates included at end of book (4 of which are
card stock templates in an envelope on the last page).
Extremely thorough text explaining the very basics of
pop-ups. Tips for rubber stamping images in case
you're not an artist.
Disadvantages: Wish there were more lessons.
Valenta, Barbara. Pop-O-Mania. Dial Books
1997. ISBN 0-8037-1947-7, $16.99 US, 22x28cm. 12
full, 3 half pp hardcover, humorous brightly colored
Areas covered: V-fold, layers, spirals, simple tab
mechanisms, rotators (using paper fastener), simple
Lessons or projects: Too many to count! Most
explain how and/or why a specific type of pop works,
how to build or create it, then shows an example in
Intended audience: Children.
Advantages: The only book that has 3-D pops as
examples of what is supposed to be made. Well
designed (not an easy feat) and clearly understood
instructions. The perfect place to start.
Disadvantages: Where's Pop-O-Mania 2?
Conference-goers browse and buy
at the Swap and Sell
A 10 x 3'/i -inch panoramic photograph
was taken of conference attendees on the lawn
A copy of the photograph is available
for $3.00 from
Ellen Rubin. 66 Lockwood Lane
Scarsdale, New York 10583
At Home with the Jolly Jump-Ups:
An insider's view
The message line on the e-mail from my son Jay said
simply, "Jolly!" Inside, it read: http://www.libraries.
A mouse click transported me to Ann Montanaro's
web page showing "Mother's day off' a page from The
Jolly Jump-Ups and their new house. 1 was home again.
On another web page, <http://www. libraries. rutgers.
edu/rulib/spcol/montanar/p-intro.htm> "A Concise
History of Pop-up and Movable Books" by Ann
Montanaro, I read, "McLoughlin Brothers reentered the
movable book market in 1939 with the publication of
their first Jolly Jump-up title. The commercially
successful Jolly Jump-up series included ten titles
illustrated by Geraldine Clyne."
Geraldine Clyne was my mother's pen name,
suggested by her agent as a substitute for her real name,
Goldie Klein. After Hitler invaded Poland in 1939, most
German sounding names were verboten in the business
Along with my father, Ben Klein, we lived in Queens
County, New York, just a subway ride from the newly
opened World's Fair. Although Ben Klein's name was
never listed on the "Jolly Jump-ups" books, he conceived
the series. Inspired by German pop-up books, my father
carried the idea one step further, patenting a process for
creating each page from a single sheet of paper. Until
then, (and until others infringed on his patent) pop-up
books were made from glued sheets. The single sheets
permitted a smooth transition from the drawing of the
front of a car to the car's top, to a balcony on the house.
My father, a Hungarian immigrant with a sixth-grade
education, also developed and held patents on the devices
used for folding the books. When the United States
entered World War II, metal and manpower were scarce.
Using scrap metal, my father made the prototypes for the
folding devices in his art studio in our attic.
How I hated the sound of his drill boring through the
metal as he produced the templates. I was eight years old
when The Jolly Jump-Ups and their new house was
published, and I wanted to live on Featherbed Lane in the
little pink house on the book's cover. That book and The
Jolly Jump-Ups journey to Mars remain my favorites.
An only child, I posed for the pictures my mother
drew of Judy Jump-Up and her many brothers and sisters.
My father drew the houses and cars, and translated the
two-dimensional drawings into the three-dimensional
world of pop-ups. The original art was drawn at three
times its finished size.
Ben and Goldie Klein died in 1979, but memories of
the "Jolly Jump-Ups" books live on through Ann
Montanaro's web page. The Jolly Jump-Ups may also have
a new home in Florida, where I now live.
Ann put me in touch with Tom Kemp, head of the
Special Collections Department at University of South
Florida Tampa Campus Library. In reply to my e-mail
introduction to him, Kemp replied: "Thank you for telling
us about your connection to the Jolly Jump-Up books.
Have you or your parents ever designated an "official"
archives to preserve the record of their work? We would
be honored to be a repository for these records. Such a
collection could include everything from copies of the
works produced, business records, details of the printing
techn iques, marketing, articles written by/about the works,
even video/audio taped remarks/lectures about the works.
Here we would conserve/preserve these records, making a
detailed guide for our web pages. As you can see,<
http://www.lib.usf.edu/spccoll/ > our web pages total well
over 1 0,000 pages of text and over 20,000 images with
more being added daily. We have online numerous audio
and video taped clips that researchers can view at will
from anywhere in the world. Our goal is to provide access
to our resources online as well as in person. This has
saved researchers countless hours in viewing and
evaluating materials online before coming to the
Department. Our Special Collections Department contains
well over 1 million items, with our central focus being
Floridiana and Children's Literature. A collection related
to the Jolly Jump-Up books would be a good fit for us."
Meggendorfer was given a deferential nod. In command
of the dates, Robert recited the progression from these
pre- World War I publishers to the Bookano series, later
"ripped-off with better color" by Blue Ribbon Press
(1930s). The Jolly Jump-ups appeared in the '30's and
40's as well, having fan-folded pop-ups with text parallel
to the spine. In the 1960's, this format was continued by
V. Kubasta, working in Prague. Kubasta, however,
increased the number of cuts and folds, creating "elegant
and humorous" pop-ups, daring "to show the dark side of
fairy tales." Robert rounded out his talk by referring to
"The Second Golden Age" begun in 1970, heralded by
Waldo Hunt working with Random House and Hallmark.
Responding to a question about the colors of his own
work, Robert told us, like Hallmark, he has been known
to mix his own inks.
Howard Rootenberg of B&L Rootenberg Books
specializing in antiquarian medical and scientific texts,
our next speaker induced the most sighs of awe. A
former copyright lawyer, Howard now works for his
mother, Barbara, "one of very few women dealers of
rare books," according to Biblio Magazine (Feb.'98).
While many of us struggle to secure movable books from
the 1800s, Howard started his talk with a movable
astrological text from 1507! This antiquity, with
volvelles, was followed by a star atlas dated 1588 in the
rare condition of having its volvelles intact, meaning
uncut. Readers were expected to assemble the volvelles
themselves. Among his peers, movables are called "flap-
books." He continued with anatomical flap-books made
not only for doctors and surgeons, but later produced for
barber shops and bath houses which did bloodletting.
Responding to a question about first editions, Howard
told us there were no copyright laws back then, and it is
only with great subtlety first editions can be determined.
The sweep through flap-book history continued with the
I9 lh century books of Ed Tucson which were hand-
colored teaching aids. Most books of this type were
continually used until they fell apart and were then
discarded, contributing to their rarity. The last medical
book was The body scope, a 1935 folio with several
wheels changing organs on both the male and female. It
sells for $1250. Parenthetically, Howard noted that in
most anatomical books of all ages, the female anatomy
was initially concealed by a finely drawn towel or
garment. This fact provided the introduction to our final
speaker, yours truly, on the topic of "Pop-ups for Grown-
The slide-show was an overview of books from my
collection which, by virtue of their subject or the level on
which they were written, I considered books for adults.
Overlapping Howard, I started with my oldest book,
Spratt's obstetrical tables (1848), teaching obstetricians
with chromolithographed flaps how to deliver babies, and
continued through medical and veterinary texts from the
turn of the century. A 1914 sales aid for the internal
combustion engine was demonstrated highlighting its
unique double-sided movable. The collection then skips to
recent years with books on science, people from Elvis and
the Beatles to Queen Elizabeth, sports, and art including
Andy Warhol's Index book. Saved for the end were those
books strictly for adults, presented with increasing
torridness. The roaring h\>enties and The naughty nineties
were artistically evocative of their times. Many collectors
had never seen Pornographies by Dan Greenberg (1969)
using movables to hide the nudity in great works of art or
Man 's best friend by Peter Mayle featuring the cartoon
stand-up comedian. Wicked Willie. While many knew
the tepid presentation of sex in The Kama Sutra, few had
seen the German reproduction of the 17 th century French
book. Aber dahinter (But Behind That..). Although using
only lift-the-flaps, these beautifully colored plates depicted
explicit sex scenes, and also managed to poke fun at the
Church. Finally, with some embarrassment, I showed
some of the plates from The secret carnival (1988) by
David Russell. This limited edition book graphically
presented a pornographic "story" set in Venice. The
hand-colored plates were well appreciated.
Much like children dismissed from school, we ran, en
masse, for the sale and swap tables and the paper
engineers poised to sign our books. Despite the neat
displays by booksellers and the orderly name tags for
paper engineers, chaos reigned as collectors sorted
through the many books they had schlepped from all
parts of the world. The smell of idolatry was in the air as
we had the chance to talk with David Carter. Jim
Deesing, Jose Seminario, Linda Costello. Pat Paris,
Biruta Hansen, Marcy Heller, Robert Sabuda, and John
Strejan, the most seasoned of the engineers present. John,
nicknamed "Silverblade," had many a tale to tell. The
younger artists. Renee Jablow, Rives, Allison Higa,
Kathryn Siegler. and especially. Willabel Tong, were
awestruck by the enthusiasm and knowledge of the
collectors. Ms. Tong, a designer "removed from the
consumer," had "no idea the excitement these books
cause." Lamenting that Roger Smith and Lynette
Ruschak were "no shows" but grateful for what we had,
we crawled back to our rooms, looking wilted against the
ram-rod posture of the dancers prancing their way to the
Well, our fairytale weekend was coming to a
close. The banquet started with Wally Hunt telling us all
about the untimely death of lb Penick that week in South
Carolina. Only several seconds of the minute of silence
had elapsed before Wally broke in saying, "It wasn't a
minute but lb worked very fast." The laughter was
followed by words of praise.
Our keynote speaker, Robert Sabuda, was
atypically dressed in suit and tie, looking like a little boy
in his Sunday best. Robert sketched his roots in rural
Michigan where at 7 or 8 years old, he saw his first pop-
up book in a dentist's office. Immediately, Robert was
drawn to the wonder of these books, peeking between the
pages, teaching himself to make them using manila
folders his mom "lifted" from the Ford Motor Company
where she worked. It was his "destiny to be a
bookmaker." Leaving Michigan at 17 for Pratt Institute,
where he is now an associate professor, Robert began as
an illustrator of children's books. He has now dedicated
himself to reversing the "unhealthy perception" that
picture books are better than pop-ups, "the stepchildren
of children's books."
Robert Sabuda holding the
It was time for the last item on the program, the
presentation of the "Meggendorfer Prize." It was my
honor to describe the prize to our members. Like the
Caldecott and Newbery Awards for children's stories and
illustrations, it was felt that there should be recognition of
the best movable book. The award is called the
Meggendorfer to honor the paper engineer members agree
set the highest standards for movables and, therefore,
would set the standard for the prize. At the start of the
convention, a "ballot-like" list (see "Choosing the Best
Pop-up Books", Movable Stationary -Dec '97) was given
to attendees to vote on the best movable book. The winner
was The Christmas alphabet, and Ann Montanaro
presented The Movable Book Society's first Meggendorfer
Prize to Robert Sabuda. Robert was at a loss for words.
With spirits high and a hopeful vision of pop-ups no
longer being the "stepchildren" of children's books, our
fairy tale adventure ended. The ballroom dancers, who
colored our weekend, heard the last of their music fade
away. But Waldo Hunt heard music of his own and asked
Ann Montanaro to dance. Were they dancing to the silent
strains of Beauty and the Beast? Will "happily ever after"
be another convention in two years in some exotic
*see Convention Trivia
SMfTHSONIAN INSTITUTION LIBRARIES
Q. Most members have seen the elaborate pop-up that came with
Michael Jackson 's compact disk. Before the age of CD's, pop-ups
appeared as part of the packaging of 33-V3 records. Following are
Walt Disney's Pinocchio, LP record and pop-up panorama
storybook. Walt Disney Music Co., 1963. Two full-page pop-ups.
Litho in Japan by Graphics International, Inc. Los Angeles.
Ronco presents a Christmas present produced by Ronco
Teleproducts, Inc. Columbia Special Products, 1973, double page
pop-up spread. Album cover and pop-up designed by Chris
Crowell & Co., Darien, Connecticut. Printed in the U.S.A.
assembled in West Indies.
Jethro Tull stand up. Reprise Records, Burbank, California, n.d.
Pop-up of the band. Chrysalis Productions. Printed in the U.S.A.
Have any of the members come across other pop-ups in 33- 1 /3
Francis J. Gagliardi
Q. In Chuck Murphy's article in the last issue he wrote about the
pop-up exhibit at the University of Arizona and mentioned that
there was an exhibit catalog. Is that catalog available and if so,
how much is it?
A. The 60-page, illustrated catalog, W h annual pop-up &
movable book exhibit, is available for $10.00 from James T.
Sinski, Special Collections, Main Library, University of Arizona,
Tucson, AZ 85721. Make check payable to Special Collections.
University of Arizona.
woman. \ -888443- 19-9.
3 9088 01629 2831
Big silver space shuttle. By Ken Wilson-Max. Scholastic.
10'/2 x 9'/ 2 . 14 pages. $14.95. 0-590-10081-5.
Cars, boats, trains, & planes. Orchard Books. 8 x 11.8
pages. $12.95. 0-531-30058-7.
Chuck Murphy 's blackcat, white cat. Little Simon. June.
6V2 x 6'/2. 5 spreads. $12.95. 0-689-81415-1.
Edward plants a garden. Dale Gottlieb, [tabs]. Envision.
6 x 6'/ 2 . 10 pages. $7.95. 1-890633-04-6.
Also: Tulip builds a birdhouse. 1-890633-05-4.
Ernest Nister's farmyard friends, [transformations] Pop-
up Press. 3'/4 x VA. 10 pages. $4.95. 1-888443-59-6.
Also: Ernest Nister's little dolls. 1-888443-58-8.
Ernest Nister's my little pets. 1 -888443-57-x.
Ernest Nister's tiny tots. 1-888443-60-x.
Hide and seek with duck By Jo Lodge. Barrons. 6x6. 12
pages. $5.95. 0-7641-5075-8.
Also: Pass the parcel with pig. 0-764 1 -5076-6.
77?e little book of hugs. Running Press Miniature Edition.
Running Press. 2'/ 2 x VA. $4.95. 0-7624-0256-3.
The long-nosed pig. By Keith Faulkner. Dial Books for
Young Readers. 10 x 10.14 pages. $1 1.99.
Pop-up trucks. By Richard Fowler. Red Wagon
Books/Harcourt Brace. 9 x 13. $14.95. 0-15-201681-3.
Richard Scarry's iciest day ever! A pop-up book with
interactive play magnets. Simon & Schuster. 10 x 10.
The following titles have been identified from pre-publication
publicity, publisher's catalogs, or advertising. All titles include
pop-ups unless otherwise identified. Titles reviewed in Robert
Sabuda's "Movable Reviews" column are not included in this
An adventure with Oliva Owl. Silver Dolphin Books. 8'/ 2 x 8V2.
18 pages. $10.95. 1-57145-076-9.
Babette Cole's revolting rules for getting a man. Pop-up Press.
31/2 x 4'/4. 10 pages. $4.95. 1-888443-20-0.
Also: Babette Cole's revolting rules for getting a woman.
1-888443-17-0. Babette Cole's revolting rules for the working
Richard Scarry 's pop-up opposites. Little Simon. $8.99.
6'/ 2 x 8'/4. 1 pages. 0-689-8 1754-1.
Also: Richard Scarry 's pop-up shapes. 0-689-81753-3.
Say cheese! By David Pelham. [Shaped like a wedge of
cheese.] Dutton Children's Books. 5 x 6 x 3 'A 24 pages.
Ten terrific trains. Dutton Children's Books. 8 x 13. 12
pages. $8.99. 0-525-45946-4.
Also: Ten tough trucks. 0-525-459465-6.
The think tank: A fantastic collection of 3-D and pop-up
games and puzzles. DK Ink. 8'/ 2 x 1 1 . 27 pages. $24.95.